H O M E ≠ H•O•M•E

Overview

H O M E ≠ H•O•M•E is an automated, fictional living room installation that explores the fine line between loneliness and solitude. Rooted in the Zen Buddhist idea of “being a home for yourself,” it invites reflection on how these states emerge and shift through space, sound, and automation. 

The title encapsulates this dynamic: the expansive “H O M E” versus the fragmented “H•O•M•E.” Both experiences arise from being alone, but the difference lies in how we relate to that aloneness. A “partially finished” interior mirrors these emotional gaps. Solitude invites contemplation, while loneliness amplifies absence. 

The work draws on Wan-Yi’s experience as a latchkey child from the age of six and spatial principles from contemplative architecture. Through the interplay of personal narrative and spatial design, the installation evokes a shifting emotional landscape. 

H O M E ≠ H•O•M•E reimagines "home" as a psychological state rather than a fixed place. It is a meditation on how solitude and loneliness can arise and shift within the same space, shaped by where our attention comes to rest. 

Personal Context (Wan-Yi)

Growing up as a latchkey child, I spent most of my childhood alone. It took many years and many tears to learn to transform loneliness into solitude. For me, the difference between the two was night and day. Loneliness ate my sense of self, while solitude, once I found it, became a quiet strength. Having lived both, I became deeply curious about the fine line that separates them and how, if we can recognize it and choose to cross, something inside us can begin to shift. 

Artistic Framework

To create two distinct emotional states within the same space, we use automation to activate Wan-Yi’s childhood narrative to evoke loneliness. Most components carry emotional imprints from Wan-Yi’s childhood home.

For solitude, we draw on the capacity of spatial experience to awaken bodily awareness, much like breath in Zen Buddhism returns attention to the body and to “being a home for yourself.” Spatial elements, including geometry, spatial perspective, verticality, and horizontal planes, cultivate an embodied experience of attention and presence. Rather than merely defining space, they transform it into a site for contemplation.

We also employ a partially finished interior that operates across both emotional states. In loneliness, the abstraction deepens the emotional gap; in solitude, it activates imagination, inviting self-connection.

While drawing on personal history, the work reflects broader contemporary experiences of isolation and the search for inner grounding.

Installation Experience

The installation unfolds in two looping atmospheres. 

In the first, a narrative emerges: a child returns home and eats alone, accompanied by a double bass rendition of a Taiwanese WWII folk song, interwoven with Wan-Yi’s vocal. The deep resonance of the instrument underscores the emotional weight of loneliness. A chandelier slowly rotates across the empty room. Its movement requires open space, reflecting the vast emptiness that once surrounded the child. 

In the second, the narrative ceases. What remains is a space inviting embodied experience, an open, partially finished environment shaped by contemplative architectural elements, where visitors’ attention can turn inward, activating imagination and self-connection.

Installation Format and Credits follow below.‍ ‍

Please note that wall elements are customized according to each space. Some photos below show different iterations, reflecting their potential spatial fluidity.